Having been introduced to the band’s music by their 2014 album “Magnolia,” it’s mind-boggling to think that THE PINEAPPLE THIEF was actually founded in 1999, and that their brand-new studio album “Far and Wide,” due out on October 9th, 2026, via InsideOut Music and Sony, will be their seventeenth endeavor altogether! A decade and seven albums on from the arrival of Gavin Harrison (PORCUPINE TREE) on drums, and newly signed to InsideOut, the new album picks up from where the previous studio album, 2024’s “It Leads To This,” left off, painting lyrical vignettes of a society in turmoil, moral courage in the face of adversity, personal loss and its ripples, while driving these points home with spine-tingling music. On this new album, the band’s modus operandi has been tilted a tad more prominently toward their live performance. According to frontman and founder Bruce Soord, the band created constraints, such as writing only three-part vocal harmonies since the band features just three singers, in order to capture the feel and energy of their live shows. While there are certain advantages in using the studio as an additional instrument, sort of, there’s no denying that this old-schoolish approach has a habit of skimming the additional fat off the songs. You know how it goes: sometimes less is actually more. So, how does this new album perform in this respect?
Well, it kicks off with a bang, that’s for sure. “New World Order” opens the album with all the band’s strongest old fortes – tight riffs, Soord‘s poignant vocals, and Harrison‘s delicious, signature beats. You may not even notice that there aren’t a million layers in the song’s arrangement. The song is stripped down to its essentials – and it bloody well works! I haven’t had the pleasure of seeing the band on stage yet, but I reckon this is a pretty good approximation of what they would sound like live. The press kit said something about the band sounding more like a good old-fashioned rock band on this new album, and… well, I have to agree. I guess THE PINEAPPLE THIEF has laid such a solid foundation for their signature craft that it still sounds spine-tingling and progressive even with a tad more streamlined approach. Then again, it’s no surprise, really; the acoustic renditions of those bangers on “Magnolia” already showed once that the band can fire on all cylinders even with a more stripped-down approach.
There is this peculiar vibe to most of these contemporary British prog bands, something inherently British in their signature sound, I guess. It’s nigh impossible to pin down exactly what it is and where it comes from, but THE PINEAPPLE THIEF has certainly integrated it into their songcraft. I mean, you only need a few seconds into the album’s riffers, such as “Hold the Ashes” or “God Knows,” and you will instantly recognize that this bunch must be a kindred spirit to bands such as IQ, AMPLIFIER, LONELY ROBOT, and FROST*. Of course, you cannot avoid comparisons to PORCUPINE TREE, either. For one thing, Harrison‘s style is so unique that it’s no wonder it might trigger flashbacks of his earlier contributions to those revered post-prog classics. “Still Living” recalls some of the atmospheric moments on the “Fear Of A Blank Planet” album from 2007, and “Who Wants It” resonates with the air of “In Absentia” (2002), here and there. Then again, Steven Wilson does not have an exclusive copyright to atmospheric prog: British prog outfits are renowned for their knack for crafting atmospheric epics, in general. The softer tracks in this new selection recall soft-prog greats across the board from FISH ON FRIDAY and PINK FLOYD to Tim Bowness and even Brian Eno.
One of these softer tracks, “No Expectations,” does the honors of wrapping up the album with 7 minutes of atmospheric beauty that resonates with the plaintive air of KATATONIA at their softest, almost. I might have opted for “This Empty Space” to swap places with the closer, though, as the song is a tad more poignant, piano-driven ballad that grows into epic proportions over the course of plus-6 minutes. I mean, if I were to close an album with a ballad type of thing. Personally, “Scattering Like Flies” would have been the absolute best option: it’s yet another 7-minute journey, but it not only creates the best sense of closure, but it also features some of the best riffs with the strongest bite on this new album. Yeah, it’s the peak track of the selection, so I would have definitely put it last – to bring things to a close with a blast. On the other hand, once you have listened to the album from start to finish – in one go, obviously – you’ll want to put it on repeat, anyway. Let’s be honest here, each of the tracks has its moments, and you’ll want to savor the finer nuances in depth if atmospheric prog is anything like your cup of tea. Speaking of which, I wonder what these Britons put in their warm afternoon beverage, because the amount of quality prog we get from this small island on a yearly basis is just mind-baffling. Striking a perfect balance between dreamlike atmospherics and hard-hitting, incisive riffs, “Far and Wide” is yet another fine selection from this pedigree prog bunch.
Written by Jani Lehtinen
Tracklist
- New World Order
- Hold the Ashes
- Still Living
- God Knows
- This Empty Space
- Scattering Like Flies
- Through the Noise
- Who Wants It?
- No Exceptions
Lineup
Bruce Soord – vocals, guitars
Gavin Harrison – drums
Jon Sykes – bass
Steve Kitch – keyboards
Label
InsideOut Music / Sony
